The gentleman poet Salcedo Coronel: lineage, editing, writing

Abstract

ResumenSalcedo Coronel concilió su labor de poeta y comentarista de Góngora con sus posiciones en la corte y la aristocracia, representadas por sus cargos de caballerizo del cardenal infante y caballero del hábito de Santiago. Ambos títulos aparecen en las portadas de sus volúmenes poéticos, y no son el único elemento de legitimación de su práctica. En los Cristales de Helicona (1650) la estrategia se muestra en una doble dimensión, correspondiente a su condición dual. Mientras la iconografía del grabado muestra los elementos de relación entre el noble y el poeta, el prólogo de Pellicer insiste en la condición aristocrática del autor, y este convierte el volumen en un espacio de representación de las relaciones de sociabilidad con otros integrantes del campo literario del momento. Entre la escritura y la edición, el caballero poeta despliega su autorrepresentación. Palabras claveSalcedo Coronel; Pellicer; paratextos; edición; campo literario; genealogía AbstractThe gentleman poet Salcedo Coronel: lineage, editing, writing Salcedo Coronel conciliates its work as poet and as Góngora's commentator with their positions on the court and the aristocracy, represented by their charges as infant cardinal's 1. Las páginas que siguen son resultado parcial del proyecto «Sujeto e institución literaria en la edad moderna», FFI2014-54367-C2-1-R, del Plan Estatal de I+D+i.

Protagonists of War

“…He did receive a critical remark from chronicler Prudencio de Sandoval in his famous history of Charles V. According to the Spanish historian, the fall of Dinant had been caused by Julián's incompetence; "seldom do bravery and prudence reside within the same person, although later this captain demonstrated that he possessed them both, as he was one of the famous men of our time". 56 There exists another Spanish description of the fighting around Dinant in which Julián serves as a classical Spanish hero who courageously entered the city after a bloody confrontation. He lost 170 men, who were killed, wounded or had been taken prisoner.…”

“…Most authors also lived and worked in Madrid, making it difficult for them to feel totally free from the influence of the Habsburg court. 244 One of the many plays attributed to Lope de Vega was simply called Comedia famosa de Julián Romero. Biographer Marichalar connects this play with the period in which Lope's daughter Marcela and Francisca Romero were both attached to the same convent, that is to say between 1622 and 1629.…”

“…190 Rodríguez Pérez, Dutch Revolt, 70. 191 Trillo,Historia,[237][238][239][240][241][242][243][244] See also Padilla,Romancero,[91][92]Cornejo,Sumario,198; Herrera y Tordesillas, Historia, I, 573. 192 Relación; Discours; Vera relatione; French translation of the Spanish account: CP III, 51-53; Newe Zeitung.…”

“…send his condolences to Dávila: "it has hurt me in my soul to hear about the death of lady Violante". 244 He had married hoping for more children: "if God would give me children, good brothers and sisters (hermanos) for the one I have". 245 The inheritance of his son, 'Hernandico' (Fernando), was partly in the hands of Hernando de Frías, but he was also thinking of involving the Fugger bankers by getting them to invest part of the money.…”

“…And again he could be found among those who had done particularly well "up front only he [Lope de Figueroa] and Sancho Dávila, who were in the vanguard of all the army". 56 As in Dahlem, the 53 enemy ran away and many were killed. And, again, a victory was a good moment for Sancho to ask for rewards.…”